Author Archives: Amid Amidi

About Amid Amidi

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More about Cartoon Network

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I received this email from a former Cartoon Network artist, who prefers to remain anonymous but has worked on a number of their projects and speaks frequently to people working there today (both execs and artists). He offers some perceptive thoughts about the network’s “swindling of the viewership” and why CN is adding more and more live-action to its schedule.

I would like to start by thanking you for your dogged coverage of Cartoon Network’s baffling new programming slate. This issue demands the exposure you are giving it. Bravo.

I’ve worked on and off for Cartoon Network for many years in Atlanta, New York, and LA, and I keep in touch with many friends at the Williams Street compound in Atlanta. Friends who have a front row seat of this swindling of the viewership. The troubling thing to me, at this point, is that I have not yet read the real logic fueling this hackneyed shift in programming.

It’s about money.

Cartoon Network is showing properties that they buy CHEAP and then broadcast sandwiched between original programming. Then they charge the same advertising rates. Buying cheap and selling at a premium is something that started on the Toonami program years ago. DragonBall Z and the other anime series they slotted were all purchased for next to nothing and yet still pulled in the highest ratings of their entire schedule when shown during the afterschool slot.

I do not know what residuals are due to the creators of shows from their past that are not being shown (Courage The Cowardly Dog, Cow & Chicken, Johnny Bravo, etc), but the price of broadcasting Saved By The Bell repeats is less of a bill for them.

When everyone seems to be completely flummoxed at these changes at the network, I feel compelled to impart what I am quite sure is the real inspiration behind this programming boondoggle: Cartoon Network is simply not bringing in any real money at their channel. There is no merchandise on the market for their shows, there are no fast food toy promos, and there is not any national advertising. (Cartoon Network advertises in LA and NYC only with hopes that the advertising traffic agencies located in those two cities will assume it is nationwide.)

I don’t think it is mere conjecture to state that this newest move by the network is a grim sign of the state of affairs there. Expect a major shake up in the near future. They have been reeling since Betty Cohen stepped down.

UPDATE: Below is a comment from an artist currently working there. He counters that Cartoon Network is not trying to do things on the cheap, and that they are in fact spending a lot of money to develop original live-action shows.

The motivation is definitely money, but not for the reasons your previous source has stated. They’ve always licensed Cartoon shows and now they’re doing live-action, as an “introduction” to more live-action content. They are aggressively seeking original live-action content and have some in development. They are trying to compete with Disney and Nick, who own ratings with shows like Raven and Lizzie McGuire. But they don’t wish to copy the same type of shows, they are looking for something different.

As far as merchandising goes, Warners was in control of it and did little or nothing for the shows as far as toys go. Batman was more important. And now licensing has just recently gone back to Cartoon Network. They are making big strides with top licensing companies and had a good showing at the Licensing Show this year. Also there will be Burger King promos for Foster’s coming soon. I’m not defending their decisions, just trying to clarify what their motivation is, as someone who still works here and has heard it first hand.

UPDATE #2: Another reliable artist who currently works for Cartoon Network wrote in the following:

Your second insider is closer to the point regarding CN and their foray into the live action world. They’ve been getting their butt kicked in the ratings by Disney’s live action-shows like “That’s So Raven” and specials like “High School Musical.” It is all about money but rather than finding and making better animated shows, they continue to make the same old animated product or when they do stumble across new product, they don’t support it once it gets on air. So, much like the 2D vs. CG battle, it’s much easier to blame the medium rather than the management’s choices of content.

Earlier stories about Cartoon Network’s abandonment of animation are here and here.

I AM 8-BIT Artwork

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If you were like me and unable to attend the I AM 8-BIT opening earlier this week, you’ll be pleased to know that there’s many photos of the paintings floating around online. Vinyl Pulse has lots of paintings HERE. And there’s plenty of event photos already posted on Flickr. The caliber of this year’s paintings, both technically and thematically, is quite impressive. Be sure to check out the paintings by animation artists like Steve Purcell, Michel Gagné, Craig Kellman, Sean Szeles, Tony Mora, Scott Morse and Dave Wasson.

Bob Iger Axes Song of the South?

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From yesterday’s entry on the blog of animation writer Earl Kress:

But getting back to “Song of the South,” there are two things I do know. It was definitely on the schedule to be released as one of the “Treasures” series, and Bob Iger, new head of The Walt Disney Company, recently sat down and watched it. It’s definitely not on the schedule any more.

UPDATE: Mark Evanier has more details about Iger’s specific reasons for not releasing the film. Iger said at the Disney shareholder’s meeting last month, “Owing to the sensitivity that exists in our culture, balancing it with the desire to maybe increase our earnings a bit but never putting that in front of what we thought were our ethics and our integrity, we’ve made the decision not to re-release it.”

I AM 8-BIT TONIGHT

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Rex Hackelberg painting

The new edition of I AM 8-BIT (“an art show inspired by videogames from the ’80s”) opens tonight at Gallery 1988 (7020 Melrose Ave, LA, CA 90038) from 6-11pm. There’s way too many artists to name here, but a list of exhibiting artists, including loads of animation folk, can be found HERE. For those that can’t make it, be sure to pick up a copy of Jon Gibson’s just-released book I AM 8-BIT, which includes artwork from both last year’s show and the new show.
(Artwork above by Rex Hackelberg)

Fyn Stec Auction

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We mentioned this last week: this Thursday, April 20th, there will be an auction at Cartoon Network benefitting Fyn Stec. Fyn is the young son of current Nickelodeon and former Cartoon Network art director Paul Stec (FOSTER’S) and his wife Dayla Corcoran (production coordinator on DEXTER’S LAB and SHREK). Fyn has recently been hospitalized with a rare form of liver cancer and the auction is raising funds to help defray medical expenses not covered by their insurance.

Lots of artwork by lots of terrific artists has been posted online and anybody can bid on them through midnight of Wednesday, April 19. You can also bid at the auction at Cartoon Network Studios (300 N. 3rd St, Burbank 91502) on Thursday, April 20th, from 5:30-8pm. Below are a couple of the pieces by Craig Kellman (top) and Genndy Tartakovsky (bottom).

Paintings by Craig Kellman and Genndy Tartakovsky

The New Cartoon Network

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Here’s a roundup of news related to our earlier post about Cartoon Network’s rebranding efforts, and its new programming direction, which is showing less cartoons and more live-action programming. In the past few months, the network had begun airing live-action features like DUMB AND DUMBER, ACE VENTURA 2 and HONEY, I SHRUNK THE KIDS, but tonight, CN began airing reruns of SAVED BY THE BELL, the first time in its history that it has aired a completely live-action TV show. The news of CN’s live-action shift has not been well received in the online community. Cartoon fans have good reason to be concerned, and one person has already started a PETITION asking the network to stop airing live-action programming.

A recent article in TV WEEK had this quote from Cox cable spokesman David Grabert addressing Cartoon Network’s shift in programming: “We always closely watch what programmers do, especially if they make changes that take them away from how they sold us the service. This is the first we’ve heard of these plans, but if we feel like they’re going too far, we’ll let them know.” Grabert’s statement suggests that if enough viewers complain to cable operators like Cox, they may step in and take some action forcing Cartoon Network to return to its original programming charter.

Brew reader David Silva wrote in from Mexico to let us know that the Latin American version of Boomerang (the classic cartoons arm of Cartoon Network) has also switched from showing older cartoons to a mixture of cartoons and live-action. He writes:

Boomerang Latin America (English version here) is no longer for classic cartoons… it has been turned into a children and teenage-oriented channel. Yes, the channel still has classic TV shows, but it’s also showing a bunch of teenage dramas and edutainment shows. Which, of course, are not cartoons. The focus has changed completely.

I’m emailing you because, as far as I can see, this change has not happened in the United States. But I am afraid that it will, and sooner than you’d expect. Cartoon Network’s situation is frightening, and the more I see these things happening, the more it makes me think that they’re trying to turn the channels into another version of The Disney Channel.

UPDATE: Animation artist Jamie Badminton writes from the UK:

Just wanted to let you know that the Toonami channel we have in the UK has been showing ‘Parker Lewis Can’t Lose’ of all things since March, along with a science program and and an extreme sports magazine show!! Worryingly, the allotted timeslots for these shows increased the following month so it can’t have been a total failure with audiences. It baffles me that they would ever consider sacrificing their once-focused broadcasting plans for early 90s teen comedies!!

We’ve had ‘Willy Wonka and the Chocolate Factory on Cartoon Network-UK several times too. I’m sure there are enough talented animators that could fill these slots with shows if given the half the chance. Thanks for highlighting it the problem – I have quite a lot of affection for what Cartoon Network once was. ‘Foster’s Home’ and ‘Samurai Jack’ have been the most outstanding animated series of the last 10 years and that is primarily because the artists have had a solid rock of studio support around them ever since the days of World Premiere Toons, letting them hone their skills in one place with the same constant team (something that had not been possible since animation’s golden age). I’d hate for that to be compromised just because some bright spark decides that ‘kids don’t like cartoons anymore’ based on one month’s viewing figures!!

Hubley’s Last Commercial

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Vlasic Pickles commercial

Michael Sporn shares his memories of working on the last commercial that John Hubley ever directed. It was a spot for Vlasic Pickles that didn’t go over too well with the agency. Sporn’s posts – PART I and PART II – include some great thumbnail poses by animator Phil Duncan and also the revelation that Hubley was responsible for designing the Vlasic Pickles stork mascot, which is still used by the company today.

The Making of Pinocchio

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Brew reader Chris Olson found an old issue of POPULAR MECHANICS with a behind-the-scenes look at the making of PINOCCHIO, and he was kind enough to make scans of the article for other Brew readers to see. The PM issue (volume 1, no. 73) was released in January 1940, a month before the film was released. The article emphasizes the technical aspects of the production, and includes some bizarre and incredible photos, such as the “mad scientist”-looking sound fx guys above. Other photos show people mixing cel paint dyes, toying around with electrical equipment, painting puppets and doing all types of things that one doesn’t typically associate with an animated production.

It’s also interesting to note that not a single artist is identified in the photo captions or article. The only person named is Walt Disney. I’ll try to right that wrong by identifying a few of the individuals. The story artists on the title page are (left to right) Ted Sears, Otto Englander and Webb Smith. The animator at top of page 6 is, of course, Bill Tytla, and the woman painting the model of Pinocchio on page 7 is Helen Nerbovig (who also happened to be the wife of background painter Bob McIntosh). If you can identify other people, let me know.

UPDATE: Michael Sporn writes that the animator looking at the fox on the second page is Norm Ferguson.

UPDATE #2: Jeff Peterson writes that the model maker with the clock at the bottom of page 7 is Bob Jones. There was an interview with him in Issue 37 of THE E TICKET.

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Oscar Nominees on YouTube

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Two very good animated shorts, both nominated for an Oscar in 1995, have turned up on YouTube. In the short but amusing BIG STORY, a stop motion Kirk Douglas argues with himself. The film was directed by David Stoten and Tim Watts.

Michael Dudok de Wit‘s THE MONK AND THE FISH is a beautifully designed and animated short by an artist who understands how to use the animation medium to tell a story. I’m sure many have already seen this short, but if you haven’t, here’s your chance.

Chatting About Cartoons in London

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There’s a solid animation lecture series currently happening at London’s Science Museum in conjunction with the Pixar: 20 Years of Animation exhibition. The series – Talk Animation! – continues through June 9. Upcoming speaker highlights include directing duo Smith & Foulkes, Philip Hunt of Studio aka, and stop motion director Barry Purves. More details HERE.

True Characters

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Story artist Jenny Lerew has posted another excellent entry about storytelling in animation on her blog, Blackwing Diaries. This time, she tackles the importance of creating honest, likeable characters that the audience can relate to. It seems like an obvious point, and yet, the type of characters which she speaks about are missing from the vast majority of contemporary feature and TV animation.

Cartoon Network

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An article in last week’s VARIETY reports that not only will Cartoon Network continue to air live-action films like ACE VENTURA and DUMB AND DUMBER, but that they’re also beginning to plan production of original live-action TV series and movies. Now I know a lot of people are probably going, What the hell? Why is Cartoon Network going to produce live action?

I, for one, however applaud this out-of-the-box thinking on the part of the CN execs. After all, just because a channel is called Cartoon Network doesn’t mean they actually need to air cartoons. That’s so obvious…so 20th century. By giving audience what they’re not expecting, Cartoon Network is showing it’s a risk-taker, and that they aren’t afraid to add an element of surprise to their programming.

The execs at Cartoon Net have stumbled upon a secret that will revolutionize the cable industry, and that’s if you ignore the name of your channel and just air whatever you feel like, the possibilities for programming are endless. If this catches on, I predict an exciting renaissance in cable TV. No longer will channels be limited to their tired routines. Seriously, how many weather reports does the Weather Channel really need? Imagine how much more interesting it’ll be to catch NBA games on The Weather Channel. And sports on ESPN? Been there, done that. What ESPN really needs to distinguish itself from the competition is a month-long film tribute to Edward G. Robinson. The idea could potentially even spread to individual shows. Bill O’Reilly on The O’Reilly Factor? We all saw that coming a mile away. But the O’Reilly Factor hosted by Oprah – now that’s what I call some innovative television. It’s a wonder that nobody’s every thought of this before, and to think we owe it all to those geniuses at Cartoon Network.

URMEL AUS DEM EIS

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URMEL AUS DEM EIS is a German CG animated feature slated for release in August 2006. You can suffer through the trailer HERE. I’m not sure what the translation of the title is, but I think it’s something along the lines of, “Our attempt at making an obnoxious, bland, charm-deprived, aesthetically repugnant, American-style CG film.” The film, produced by Ambient Entertainment, is based on a fondly remembered German marionette TV series from the late-1960s, though chances are it won’t be fondly remembered after this film is released. On a sidenote, is anybody keeping track of the number of animated features in recent years that have used Sister Sledge’s song “We are Family” in their trailer or in the final product? And has anybody considered, instead of having a song that spells out to audiences that the characters are like family, wouldn’t it be more impressive to create characters who exude warmth and personality, and communicate that feeling of family through their actions?